In the 1950s Hall moved from Jamaica to Oxford Universtity and then to London, where he helped edit the Universities and Left Review and then the New Left Review. One of his earlier published articles, Absolute Beginnings: Reflections on the Secondary Modern Generation (ULR 7, 1959), was informed by his experience of teaching in a South London school - Secondary Moderns accommodated the majority of working class pupils who failed the 11+ exams for the more academic and better-resourced Grammar Schools.

One of the things Hall documents in this article is the transition from 'teddy boy' fashions to mod styles, with a close attention to what people were wearing:

'while the superficial changes of style and taste ring out successively, there are some important underlying patterns to observe. In London, at any rate, we are witnessing a "quiet" revolution within the teenage revolution itself.

The outlines of the Secondary Modern generation in the 1960's are beginning to form. The Teddy Boy era is playing itself out. The L-P, Hi-Fi generation is on the way in. The butcher-boy jeans, velvet lapel coats and three-inch crepes are considered coarse and tasteless. They exist- but they no longer set the "tone". "Teds" are almost square. Here are the very smart, sophisticated young men and women of the metropolitan jazz clubs, the Flamingo Club devotees—the other Marquee generation. Suits are dark, sober and casual-formal, severely cut and narrow on the Italian pattern. Hair cuts are "modern"—a brisk, flattopped French version of the now-juvenile American crewcut, modestly called "College style". Shirts are either white-stiff or solid colour close-knit wool in the Continental manner. Jeans are de rigeur, less blue-denim American, striped narrowly or black or khaki. The girls are shortskirted,
sleekly groomed, pin-pointed on stiletto heels, with set hair and Paris-boutique dead-pan make-up and mascara. Italian pointed shoes are absolute and universal.

A fast-talking, smooth-running, hustling generation with an ad-lib gift of the gab, quick sensitivities and responses, and an acquired taste for the Modern Jazz Quartet. They are the "prosperity" boys—not in the sense that they have a fortune stashed away, but in that they are familiar with the in-and-out flow of money. In the age of superinflation, money is a highly volatile thing. They have the spending habit, and the sophisticated tastes to go along with it. They are city birds. They know their way around. They are remarkably self-possessed, though often very inexperienced, and eager beneath the eyes. Their attitudeto adults is less resentful than scornful. Adults are simply "square". Mugs. They are not "with it". They don't know "how the wind blows". School has passed through this generation like a dose of salts—but they are by no means intellectually backward. They are, in fact, sharp and self-inclined. Office-boys—even van-boys—by day, they are record-sleeve boys by night. They relish a spontaneous
giggle, or a sudden midnight trip to Southend: they are capable of a certain cool violence. The "Teds"
are their alter-egos.

They despise "the masses" (the evening-paper lot on the tubes in the evening), "traditionals", "cops", (cowboys), "peasants" and "bohemians". But they know how to talk to journalists and TV "merchants", debs and holiday businessmen. Their experiences are, primarily, personal, urban and sensational: sensational in the sense that the test of beatitude is being able to get so close you feel you are
"part of the act, the scene". They know that the teenage market is a racket, but they are subtly adjusted to it nonetheless.They seem culturally exploited rather than socially deprived. They stand at the end of the Teddy-boy era of the Welfare State. They could be the first generation of the Common Market...

If post-war prosperity have lifted this working class generation up out of poverty, and raised their cultural experiences and their social contacts— that is an unqualified gain. It is the sophisticated advance guard of the teenage revolution who are—at universities and training colleges and art schools and in apprenticeships—the most articulate in their protest about social issues, and who feel most strongly about South Africa or the Bomb. If the cool young men of today were to become the social conscience of tomorrow, it would be because they had seen sights in the Twentieth Century closed to many eyes before. It would not be the first revolution which came out of social deprivation, nor the first Utopia with absolute beginnings.'

(Hall is of course referencing Colin MacInnes' Absolute Beginners in this closing line, which he reviews favourably in the course of the article).

Politics of Dancing

'People have always come together to move to music. In the process communities have been created, social divisions challenged, pleasure exalted over work and a billion relationships have blossomed. At the same time dancing bodies have often been subject to regulation – rules about when, where and how they can move, rules about who is allowed to dance with who, rules about what dancers can wear and put inside their bodies… That, in essence, is the 'politics of dancing'.

Musicking

'musicking... is an activity in which all those present are involved and for whose nature and quality, success or failure, everyone present bears some responsibility. It is not just a matter of composers, or even perform­ers, actively doing something to, or for, passive listeners. Whatever it is we are doing, we are all doing it together—performers, listeners... dancers, ticket collectors, piano movers, roadies, cleaners and all' (Christopher Small).

Dancing Questionnaire

The aim of the 'dancing questionnaire' is to get a sense of the diversity of people's experiences of dancing and musicking. If you want to contribute, please answer the following questions yourself and send to transpontine@btinternet.com.

1. Can you remember your first experience of dancing? / 2.
What’s the most interesting/significant thing that has happened to you while out dancing? / 3. You. Dancing. The best of times… / 4. You. Dancing. The worst of times… / 5.
Can you give a quick tour of the different dancing scenes/times/places you’ve frequented? / 6. When and where did you last dance? / 7. You’re on your death bed. What piece of music would make your leap up for one final dance? (Previous Questionnaires)

Photo policy

I spend a lot of time trying to find evocative images to go with some of the text on this site. I always fully credit and link to where photos were sourced from. If though I have used one of your images in a way you are not happy with, email me and I will remove it.